Louisiana State University Press

Founded in 1935, LSU Press quickly established itself as one of the nation’s outstanding scholarly presses and continues to garner national and international accolades, including four Pulitzer Prizes. For 75 years, LSU Press has published significant works of scholarship and preserved Louisiana's history and culture. Over half of the books we have published remain in print around the world. LSU Press is a nonprofit book publisher dedicated to the publication of scholarly, general interest, and regional books. An integral part of LSU, the Press shares the university’s goal of the dissemination of knowledge and culture. LSU Press is one of the oldest and largest university presses in the South and among the outstanding publishers of scholarly books in the country. It holds membership in the Association of American University Presses, the largest organization of scholarly publishers in the world.

In the Civil War era, Americans nearly unanimously accepted that humans battled in a cosmic contest between good and evil and that God was directing history toward its end. The concept of God's Providence and of millennialism -- Christian anticipations of the end of the world -- dominated religious thought in the nineteenth century. During the tumultuous years immediately prior to, during, and after the war, these ideas took on a greater importance as Americans struggled with the unprecedented destruction and promise of the period.

Scholars of religion, literary critics, and especially historians have acknowledged the presence of apocalyptic thought in the era, but until now, few studies have taken the topic as their central focus or examined it from the antebellum period through Reconstruction. By doing so, the essays in Apocalypse and the Millennium in the American Civil War Era highlight the diverse ways in which beliefs about the end times influenced nineteenth-century American lives, including reform culture, the search for meaning amid the trials of war, and the social transformation wrought by emancipation. Millennial zeal infused the labor of reformers and explained their successes and failures as progress toward an imminent Kingdom of God. Men and women in the North and South looked to Providence to explain the causes and consequences of both victory and defeat, and Americans, black and white, experienced the shock waves of emancipation as either a long-prophesied jubilee or a vengeful punishment. Religion fostered division as well as union, the essays suggest, but while the nation tore itself apart and tentatively stitched itself back together, Americans continued looking to divine intervention to make meaning of the national apocalypse.

The collapse of the Soviet Union and other Marxist regimes around the world seems to have left liberal democracy as the only surviving ideology, and yet many scholars of political thought still find liberal democracy objectionable, using Aristotle's Politics to support their views. In this detailed analysis of Book 3 of Aristotle's work, Clifford Angell Bates, Jr., challenges these scholars, demonstrating that Aristotle was actually a defender of democracy.
Proving the relevance of classical political philosophy to modern democratic problems, Bates argues that Aristotle not only defends popular rule but suggests that democracy, restrained by the rule of law, is the best form of government. According to Aristotle, because human beings are naturally sociable, democracy is the regime that best helps man reach his potential; and because of human nature, it is inevitable democracies will prevail.
Bates explains why Aristotle's is a sound position between two extremes—participatory democracy, which romanticizes the people, and elite theory, which underrates them. Aristotle, he shows, sees the people as they really are and nevertheless believes their self-rule, under law, is ultimately better than all competing forms. However, the philosopher does not believe democracy should be imposed universally. It must arise out of the given cultural, environmental, and historical traditions of a people or its will fall into tyranny.
Bates's fresh interpretation rests on innovative approaches to reading Book 3—which he deems vital to understanding all of Aristotle's Politics. Examining the work in the original Greek as well as in translation, he addresses questions about the historical Aristotle versus the posited Aristotle, the genre and structure of the text, and both the theoretical and the dialogic nature of the work. Carting Aristotle's rhetorical strategies, Bates shows that Book 3 is not simply a treatise but a series of dialogues that develop a nuanced defense of democratic rule.
Bates's accessible and faithful exposition of Aristotle's work confirms that the philosopher's teachings are not merely of historical interest but speak directly to liberal democracy's current crisis of self-understanding.

This biography by John Ward, a former member of Rockefeller's staff and director of his 1968 reelection campaign, presents the story of the first Rockefeller ever to live south of the Mason-Dixon Line. Winthrop Rockefeller was a man whose determination to build a viable two-party system in Arkansas and the South was matched only by his vast resources for doing so. Moreover, the book is a portrait of a man who lived his life openly, whose every success and every failure was a matter of public record for the two million citizens of his adopted state. Winthrop Rockefeller was a remarkable man, and in 1953, he chose to make Arkansas his home. Through his leadership and philanthropy, he transformed the state's politics, economy, culture, and education for the better. The legacy of Governor Rockefeller continues today through the work at the Winthrop Rockefeller Institute.

In Art Matters, Robert Paul Lamb provides the definitive study of Ernest Hemingway’s short story aesthetics. Lamb locates Hemingway’s art in literary historical contexts and explains what he learned from earlier artists, including Edgar Allan Poe, Paul Cézanne, Henry James, Guy de Maupassant, Anton Chekhov, Stephen Crane, Gertrude Stein, James Joyce, and Ezra Pound. Examining how Hemingway developed this inheritance, Lamb insightfully charts the evolution of the unique style and innovative techniques that would forever change the nature of short fiction.
Art Matters opens with an analysis of the authorial effacement Hemingway learned from Maupassant and Chekhov, followed by fresh perspectives on the author’s famous use of concision and omission. Redefining literary impressionism and expressionism as alternative modes for depicting modern consciousness, Lamb demonstrates how Hemingway and Willa Cather learned these techniques from Crane and made them the foundation of their respective aesthetics. After examining the development of Hemingway’s art of focalization, he clarifies what Hemingway really learned from Stein and delineates their different uses of repetition. Turning from techniques to formal elements, Art Matters anatomizes Hemingway’s story openings and endings, analyzes how he created an entirely unprecedented role for fictional dialogue, explores his methods of characterization, and categorizes his settings in the fifty-three stories that comprise his most important work in the genre.
A major contribution to Hemingway scholarship and to the study of modernist fiction, Art Matters shows exactly how Hemingway’s craft functions and argues persuasively for the importance of studies of articulated technique to any meaningful understanding of fiction and literary history. The book also develops vital new ways of understanding the short story genre as Lamb constructs a critical apparatus for analyzing the short story, introduces to a larger audience ideas taken from practicing storywriters, theorists, and critics, and coins new terms and concepts that enrich our understanding of the field.

George Balanchine, one of the twentieth century's foremost choreographers, strove to make music visible through dance. In The Art of Gravity, Jay Rogoff extends this alchemy into poetry, discovering in dancing -- from visionary ballets to Lindy-hopping at a drunken party -- the secret rhythms of our imaginations and the patterns of our lives.

The poems unfold in a rich variety of forms, both traditional and experimental. Some focus on how Edgar Degas's paintings expose the artifice and artistic self-consciousness of ballet while, paradoxically, illuminating how it creates rapture. Others investigate dance's translation of physical gesture into allegorical mystery, especially in Balanchine's matchless works. Rogoff pays tribute to superb dancers who grant audiences seductive glimpses of the sublime and to all of us who find in dance a redemptive image of ourselves.

The poet reveals dance as an "art of gravity" in the illusory weightlessness of a "dance that ends in mid-air," in the clumsiness of a Latin dance class's members "trip- / ping over each other in the high school / gym," and in the exploration of ultimate Gravity -- a sonnet sequence titled "Danses Macabres." Ultimately, Rogoff confronts with unflinching precision the dark consummation of all our dancing.

Though deeply entrenched in antebellum life, the artisans who lived and worked in Petersburg, Virginia, in the 1800s—including carpenters, blacksmiths, coach makers, bakers, and other skilled craftsmen—helped transform their planter-centered agricultural community into one of the most industrialized cities in the Upper South. These mechanics, as the artisans called themselves, successfully lobbied for new railroad lines and other amenities they needed to open their factories and shops, and turned a town whose livelihood once depended almost entirely on tobacco exports into a bustling modern city. In Artisan Workers in the Upper South, L. Diane Barnes closely examines the relationships between Petersburg's skilled white, free black, and slave mechanics and the roles they played in southern Virginia's emerging market economy. Barnes demonstrates that, despite studies that emphasize the backwardness of southern development, modern industry and the institution of slavery proved quite compatible in the Upper South.
Petersburg joined the industrialized world in part because of the town's proximity to northern cities and resources, but it succeeded because its citizens capitalized on their uniquely southern resource: slaves. Petersburg artisans realized quickly that owning slaves could increase the profitability of their businesses, and these artisans—including some free African Americans—entered the master class when they could. Slave-owning mechanics, both white and black, gained wealth and status in society, and they soon joined an emerging middle class. Not all mechanics could afford slaves, however, and those who could not struggled to survive in the new economy. Forced to work as journeymen and face the unpleasant reality of permanent wage labor, the poorer mechanics often resented their inability to prosper like their fellow artisans. These differing levels of success, Barnes shows, created a sharp class divide that rivaled the racial divide in the artisan community.
Unlike their northern counterparts, who united as a political force and organized strikes to effect change, artisans in the Upper South did not rise up in protest against the prevailing social order. Skilled white mechanics championed free manual labor—a common refrain of northern artisans—but they carefully limited the term "free" to whites and simultaneously sought alliances with slaveholding planters. Even those artisans who didn't own slaves, Barnes explains, rarely criticized the wealthy planters, who not only employed and traded with artisans, but also controlled both state and local politics. Planters, too, guarded against disparaging free labor too loudly, and their silence, together with that of the mechanics, helped maintain the precariously balanced social structure.
Artisan Workers in the Upper South rejects the notion of the antebellum South as a semifeudal planter-centered political economy and provides abundant evidence that some areas of the South embraced industrial capitalism and economic modernity as readily as communities in the North.

Project Dribble and the Quest for Nuclear Weapons Treaty Verification in the Cold War Era

In Atomic Testing in Mississippi, David Allen Burke illuminates the nearly forgotten history of America’s only nuclear detonations east of the Mississippi River. The atomic tests, conducted in the mid-1960s nearly 3,000 feet below ground in Mississippi’s Tatum Salt Dome, posed a potential risk for those living within 150 miles of the site, which included residents of Hattiesburg, Jackson, Gulfport, Biloxi, Mobile, and New Orleans. While the detonations provided the United States with verification methods that helped limit the world’s nuclear arsenals, they sparked widespread public concern.
In 1964 and 1966 the Atomic Energy Commission conducted experiments at the salt dome—code-named Dribble—surrounded by a greater population density than any other test site in the United States. Although the detonations were not weapons tests, they fostered a conflict between regional politicians interested in government-funded science projects and a population leery of nuclear testing near their homes. Even today, residents near the salt dome are still fearful of long-term negative health consequences.
Despite its controversy, Project Dribble provided the technology needed to detect and assess the performance of distant underground atomic explosions and thus verify international weapons treaty compliance. This technology led to advanced seismological systems that now provide tsunami warnings and detect atomic activity in other nuclear nations, such as Pakistan and North Korea.

Each year in France approximately 1.5 million people practice naturisme or "naturism," an activity more commonly referred to as "nudism." Because of France's unique tolerance for public nudity, the country also hosts hundreds of thousands of nudists from other European nations, an influx that has contributed to the most extensive infrastructure for nude tourism in the world. In Au Naturel, historian Stephen L. Harp explores how the evolution of European tourism encouraged public nudity in France, connecting this cultural shift with important changes in both individual behaviors and collective understandings of the body, morality, and sexuality.

Harp's study, the first in-depth historical analysis of nudism in France, challenges widespread assumptions that "sexual liberation" freed people from "repression," a process ostensibly reflected in the growing number of people practicing public nudity. Instead, he contends, naturism gained social acceptance because of the bodily control required to participate in it. New social codes emerged governing appropriate nudist behavior, including where one might look, how to avoid sexual excitation, what to wear when cold, and whether even the most modest displays of affection -- -including hand-holding and pecks on the cheek -- were permissible between couples.

Beginning his study in 1927 -- when naturist doctors first advocated nudism in France as part of "air, water, and sun cures" -- Harp focuses on the country's three earliest and largest nudist centers: the �le du Levant in the Var, Montalivet in the Gironde, and the Cap d'Agde in H�rault. These places emerged as thriving tourist destinations, Harp shows, because the municipalities -- by paradoxically reinterpreting inde-cency as a way to foster European tourism to France -- worked to make public nudity more acceptable.

Using the French naturist movement as a lens for examining the evolving notions of the body and sexuality in twentieth-century Europe, Harp reveals how local practices served as agents of national change.

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